b. 63
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composition: Op. 30, Mazurka in D♭ major
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In the main text we suggest adding a staccato dot at the beginning of the bar. In the three remaining places the quaver sixths, followed by a semiquaver rest, are provided with dots in at least one authentic source (FC and FE), which allows us to consider the absence of a dot in the discussed bar to be an oversight. category imprint: Editorial revisions |
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b. 68-69
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composition: Op. 30, Mazurka in D♭ major
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The missing tie to f1 in FE (→EE) may be simply an oversight by the engraver. However, one cannot rule out that this version could be authentic or even later than the version with a tie, if Chopin removed it while proofreading FE. The reason for a possible correction could be a more exact rhythmic and melodic inner analogy between the phrases in bars 57-64 and 65-72 – in the former, both four-bar sections begin from tied sixths (bars 57 and 61), whereas in the latter – from a played note in the bottom voice (bars 65 and 69). category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 69-70
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composition: Op. 30, Mazurka in D♭ major
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As in bars 61-62, in the main text we add cautionary flats to d2 in bar 69 and the d1-b1 sixth in bar 70. It was also GE that added accidentals to the sixth. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 73
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composition: Op. 30, Mazurka in D♭ major
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The accent could have been overlooked by the copyist or added in the stage of proofreading FE. category imprint: Differences between sources issues: Authentic corrections of FE , Errors of FC |
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b. 75
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composition: Op. 30, Mazurka in D♭ major
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The and slentando indications were added to FC by Chopin. Therefore, the latter must have been added also either in the stage of proofreading FE or to the basis thereof. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of FC |